Contagious Shadow Ruppetry In Modern Art

Over the years, I have flirted with visual art. It started with pencil drawing, continued as an affair with marker illustration, then a dalliance with lettering, and I now have a relationship with photography. However, my favorite art will never be displayed in museums or galleries. It is not static and immutable. Rather, my chosen medium is fluid, living, volatile. No matter how well rehearsed, it will never be the same again. That’s the beauty of performance art.

Beginning with the opening shot of the rainbow railroad, the audience is placed in an unknown environment with colorful elements such as the rainbow track and surroundings, and the trumpet and drum focused non-diegetic score. The journey through unknown environments paired with the rainbow filter creates a lively atmosphere by placing the audience in a visually busy setting. The train speeds by rainbow rural and urban areas, preparing the audience for the shots of the two women in pastoral and urban areas. The second and third shots introduce the female protagonists: the blonde character causes surprise when she jumps into the frame and the second causes curiosity. The sound effect when the blonde actress jumps into the frame is startling, creating a strange relationship between the actress and the audience because of her unexplained sudden presence.

They have been modified by the producers, so that moving persons and objects, having been taken from the paintings, form an action, which I am going to describe in the following.

When tasked with reviewing an exhibition there was only one exhibition that came to my mind: Jason Ramey’s Transitio, held here at the University of Minnesota, Morris. Ramey is a new professor here at Morris, and I had him as an instructor for one of my classes, so I was instantly interested. When you first walk into the gallery you will notice the only figurative piece, Mantle, in the collection, which makes you wonder why it is the only one, if that is a path he is starting to go down now, or something a little older that he has abandoned. When you look at the dates of the pieces shown you notice that it was made somewhere in the middle of the chronology of the pieces here. The whole exhibition seems to raise more questions than at answers, but that is not always a bad thing, it gets you thinking. There is not even an artist statement that helps explain what is going on. All of the interpretation of the art is up to the viewer, which is a bold move as those who do not want to think will look around and leave, but others that are really interested in thinking will all leave with unique opinions of what the artist is trying

The intensity of lighting was bright as the dancers began to perform. Throughout the performance, there were a few light changes. The light came from the top of the stage, this position caused shadows to appear on the back and side walls. At the end of their performance, the intensity became very dim as they were still dancing. It made it look as though they disappeared in the night.

We are seeing a new tradition in the images of Crewdson, Wall and Gursky. Through a process that includes staging and extensive digital manipulation, these artists are bypassing the ‘real’ to arrive at something different. Although not immediately identifiable to all those who view the work of Crewdson, Wall and Gursky; anyone who has visited a movie theatre will (perhaps sub-consciously) be aware of the similarities visible in

This is a work about parallel simulation. The world of this work is a parallel universes and people are survieing in parallel lives. Though the installations itself may be composed of no more than dolls and plastic toys, Cao asserts a lot of intersting details and smart references in it, and the video highlighted both the mundanity and vice of contemporary society through the creation of an obviously fake, alternate world modeled on our own. It's interesting for me to see how something so very unreal can be a source of real anxiety as soon as one realizes that there are indeed many truthful parallels in our

Strangely enough shadows and streaks of light are painted directly onto the sets, further distorting the viewer's sense of perspective and three-dimensionality. (John D. Barlow.

Pierre Huyghe is a French artist who grew up in Paris, France. Much of his work surrounds installations, and public events which extends his work into digital and live work. His work that stood out to me the most was his filming of staged scenarios. A lot of this work focuses on one or more subjects, but the setting is quite large. This gives a lot of the work a lonely and sad feeling. His work highlights the idea that we all are very small compared to the world around us. A production still which grabbed my attention was This is Not a Time for Dreaming, from 2004. In this still we see a larger puppet which is being controlled by strings while holding his own set of strings. As you look down you see that the larger puppet is actually controlling

"No artist was more obsessed with shadows that Leonardo da Vinci" (Fiorani, 271). Leonardo was fascinated by the earlier painters Pietro Cavallini and Giotto, which relied heavily on shadows and heavily studied their work alongside the writer Cennino Cennini. Finally, when he started painting, he observed how shadows acquired colors because of the objects surrounding it and asked how and why the shadows take on the colors from the other objects. He focused on various painting techniques to incorporate the blended and minute shades into his art. However, he did not just look at his own observations, but he took into account Aristotle’s observations of colors and the atmosphere as well as Alhazen's techniques of utilizing light and optics to

This is an illusion that affects your eyes that when a number of still images are played one after the other at a fast rate we perceive as one object that is moving in the image and this is due to persistence of vision which is a term used to describe the Eye not being able to see the stops in-between the images and so it appears as a animation.

Almost all the countries around the world know what “puppetry art” is and have it as an art at their country. In Vietnam, puppetry art is one of the most popular traditional art that existed for a long time. Besides having the same kinds of puppet theatre as other countries, Vietnam also has their own unique puppet theatre called “Water puppet theatre”. So, what is “water puppet theatre”? The answer is in the name of itself, puppet theatre in water. Throughout the long history, water puppet theatre not only has become unique traditional puppet art and popular to other countries, but it also nearly disappeared in nowadays.

Seeing it has given me a new view on theatrical structure. The performance was divided into four sections with three intervals were each one of them was a different form contemporary dance performance presented in varying moods. In my opinion the red thread of the performance was the simplicity of the staging props with focus on light-sculpted space along with smoke and music and dance compilation. In this case, the role of technical appliances is just as or even more significant to the staging convention as the performer’s role itself.

“In the shadow/ of a spectacle/ is the view of the crowd” is a commissioned performance for Performa 15 by Danish artist Jesper Just and FOS. Artists created an installation on the 43rd floor of 225 Liberty Street using blackout curtains to obscure the 360-degree views of Tribeca’s skyline. Audience members were shepherded into several elevators to go upstairs. The dark atmosphere upon entering the 43rd floor directly leads audiences into a dark and immersive environment. The image of the glass facade of 1 World Trade Center was projected in lift lobby.

I decided to use shadow puppetry because I remember watching a shadow puppet show when I was younger (about six or seven years old) and it was incredibly captivating yet so simple. The fact that the images were just silhouettes gave my colourful imagination the chance to paint them any way I wanted to. I cannot remember the exact show I watched but I do remember the feeling it left me with. I hope I can achieve the same wonder with my puppets. A court poet during the reign